Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.
Sometimes I'll go for something more because of the story, or more because of the director. But, generally, I have to feel like it's something that I have a real sympathy for - a person that I can completely go, "Oh, wow, oh, I'm there." Otherwise I don't feel like I will be able to pull it off at all. I know I haven't done everything very well in the past; some things have worked and some things haven't. But I need to feel like I can feel about the person, understand that person, I suppose.
As a first-time director, you cannot have final cut. But as a producer, you can have final cut.
I only produce directors and movies that I have a lot in common with.
If you don't take it personally, the partnership between producers and directors is very intimate.
Every time I act in something, I learn something about what the director is doing. One feeds the other.
There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.
Look, a lot of directors were actors, even if they were unsuccessful actors which I think is helpful. I think it's a really helpful thing for a director to have experienced that. It helps you know how to talk to actors and how to get what you need from them.
I acted for so many years and sat on a million sets and worked with a million different directors so that is to me some of the best training you can get.
I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.
My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.
Having the career of the beloved CIA Director and the commanding general in Afghanistan instantly destroyed due to highly invasive and unwarranted electronic surveillance is almost enough to make one believe not only that there is a god, but that he is an ardent civil libertarian.
I'm very shy. But as a director and especially a female director, absolutely: How I used to walk on the court is how I walk on set. And I have to - I mean, I'm controlling 150, 200 people, and everything is on me.
I think when you have some success as a kid, your notion of being a good actor is pleasing the director, doing exactly what they tell you to do.
I always want to do something I haven't done before and get to work with other actors, writers, or directors that I want to work with.
After you do a showcase for agency managers and casting directors and you get this folder and some people had a folder that was thick and some people had a folder that was thin. And there's no fairness to it because it's not a fair business.
I'd never really done comedy before Community, so getting to work day in and day out with all these great people, directors, writers, and actors, I feel like I've learned a lot.
Having a good director is very important. It's crucial. When you do good work with a certain director, you want to work with them again, and hopefully vice versa.
It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.
I had to go and sing with the musical director of the film, Simon Lee, who is just incredible, and it went great. I sang with him about five things, things we'd worked on. And then I went to sing for Andrew Lloyd Weber.
I'm an enormous fan of Ron Howard. I mean, he's the most extraordinary director.
History has a way of coming back to you. In the case of Janis Joplin appearing at the festival in 1968, her performance affected the life of a Bostonian who is now a member of the Newport Festivals Foundation Board of Directors. Ward Mooney was so affected and emotionally involved in Janis’ performance at Newport, that when he heard the festival was going nonprofit, he knew wanted to become a part. Janis was beautiful, gracious and respectful, and the power of her Newport performance continues to live on.
I was going to say we saw Secretary [Hillary] Clinton reported that she believes that she would've won the election but for the interference of the FBI director James Comey.
The inter-relationships between people have always fascinated me, as a director. And particularly those who are battlers in life, those who are on the fringes of life, they've always fascinated me, and I've always loved working on those characters.
What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.
